Spider-Man: Far from Home (2019)

There’s a scene that I loved in Spider-Man: Far From Home that I wish I could explore in more detail than is really appropriate for an opening paragraph, even if the review is as late as this one. To be as spoiler free as possible, I’ll just say that we once again spend some time with a character who finds Tony Stark’s narcissism and egotism as obnoxious as I do, and I got a minor thrill out of the fact that, within this narrative in which (spoilers for Endgame) Stark’s corpse has barely cooled, the evil that he’s done lives after him and the good is interred with his arc reactors (or something). His former employees hated his freaking guts, with Stark’s careless dismissal of the “little people” in his sphere, despite their individual contributions to the technology that kept his empire alive, presented in a more honest way than we’ve seen before. Somewhere along the way, Robert Downey Jr.’s charisma tricked everyone into forgetting that Tony Stark is someone that would be very difficult to get along with, unless you were a gorgeous twenty-something he wanted to bed. That he died and left most of his legacy to a kid from Queens he barely knows is strange, to say the least, and Stark’s spurned employees don’t see a reason why they should have to honor that desire. Frankly, neither do I, and I have the benefit of living outside of the narrative and can recognize how weird it is that this Spider-Man isn’t really all that Spider-Manny.

Peter Parker (Tom Holland)’s going to Europe! Along for the ride are his pal Ned (Jacob Batalon), MJ (Zendaya), and Flash (Tony Revolori). Betty Brandt (Angourie Rice), seen in the last Spider-film only on the school’s video announcements, is also along for the ride. The aforementioned all disappeared for five years during what’s now being called “The Blip,” the time period during which half of all life was snapped out of existence by Thanos at the end of Infinity War, before being snapped back into existence by Tony in Endgame (ok, he’s not without a redeeming feature or two); some students return to discover that their younger sibling is now biologically older than them, even if they are still chronologically elder. To those who were gone during the interim, that means that there’s a whole new group of freshly-minted peers, with some of Peter’s classmates having, subjectively, grown from pipsqueak to hunk overnight. One such character is Brad (Remy Hii, who, like me, is 32, making me wonder if I could still pull off a potentially problematic Never Been Kissed investigation), whom Peter fastens onto as a potential rival for MJ’s affection. As soon as the group gets to Europe, element-based monsters appear and start wreaking havoc on all that priceless architecture, and Peter must team with new hero Mysterio (Jake Gyllenhaal) to stop them, etc. Also part of this story are Tony Stark’s hideous sunglasses, which turn out to be linked to yet another A.I. that connects to an orbiting Stark weapons platform, among other things, and which Stark meant to go to his “successor.” But is Peter’s head adult enough to wear so heavy a crown? And if not, him, whom? Also, Samuel L. Jackson appears in his contractually obligated appearance as Nick Fury, and Maria Hill (Colbie Smulders) is also there. And Aunt May (Marisa Tomei).

There’s both too much and too little going on here. “Too much” in the sense that, with a release date a mere 61 days after the premiere of Endgame, there hasn’t really been sufficient time to let that film digest in the public consciousness; “too little” in the sense that, if we are going to dive straight back into this world, we don’t really get to spend sufficient time exploring the massive consequences of The Blip. I still remember the thrill of electricity that ran through my fat, greasy, balding 2009 body the first time I read in an issue of Wizard that there were going to be Captain America and Thor movies in 2011, and how that seemed so far away, and all the speculation and discussion and anticipation that created. Endgame truly felt appropriately consequential and, at the risk of coming across as sententious, iconoclastic. It was a capstone to a truly impressive decade of mainstream film; to break ground on something new so soon diminishes the poignancy and the potency of what we just saw in theaters two months prior. In my Endgame review, I noted that the film functioned as the “All Good Things” of the first ten years of the MCU, but even Rick Berman and Brannon waited at least six months before getting straight to Voyager. This analogy bears out in the content of Far From Home as well, where we find our intrepid band of heroes literally far from home, but the narrative quickly settles into something that’s so familiar it’s essentially the same old thing, just blanched of some of the color that made it special. Perhaps, like the franchise that once boasted the most films in a single series, we’re about to experience such diminishing returns that the next ten years of Marvel fail to penetrate the public consciousness the way its forbearer did.* Give my fat, greasy, balder 2019 body the chance to feel that excitement and anticipation again, Marvel.

I understand that fans are too hungry for new content to let the land lie fallow for a season so that the earth is sweet again, or at least I understand that this is the narrative. I also understand that the MCU is a machine that generates money, and that this is the real reason we’re not going to see a summer without an MCU flick until the well runs dry (if it ever will). But if we are going to head back so soon, we should spend more time really living with the aftermath of The Blip. As it is, an entire half of the universe just experienced a cataclysmic existential shift; half of all life just lost seven years, not to mention there’s very little exploration of the fallout from the doubtlessly widespread infrastructure issues that this creates. What we get is a single fundraiser for Aunt May’s homelessness initiative, which barely glances off of the surface of what kind of a massive housing crisis must now be a reality for everyone. The implications are boundless, but the most devastating event in the history of existence is used mostly as a source to mine for comedy in the fact that formerly sexually ineligible middle school nerds are now hot (32 year old) seniors.

I’m coming down pretty hard on this for a movie that I had a fairly good time watching. I’m not really upset with the product, just with the system of production. I mean, I’m never going to love the fact that Peter Parker’s whole deal–being a street-level superhero who had to balance all his great responsibility with his need to have some semblance of a normal life–is kinda defeated by having Tony Stark acting as Daddy Warbucks bibbedi-bobbedi-booing Peter straight out of Queens. Even when one considers that Peter’s desire to be a friendly, neighborhood Spider-Man is part of his external conflict in this film, Tony Stark’s presence looms so large and his shadow casts so far that it drags down the plot. The narrative connection between the former Stark employees and their complicated boss not only works for me because it’s critical of Tony Stark, but also because it makes the world feel larger in an organic way; having Peter’s story be so dependent on Tony’s makes it smaller. Gone is the relatability of the fable, in which perseverance is a virtue, replaced by the rhetorical distance of the fairy tale, in which you might be rewarded for hard work, but also sometimes you’ve just got a fairy godmother to do that shit for you.

There were a lot of things that I liked. There’s a series of illusions that appear throughout the film (to say more would reveal too much) that are really cool to watch. There’s also an appearance by J. Jonah Jameson, once again played by J.K. Simmons, which both comes out of nowhere and is a welcome addition, although it’s hard to wrap one’s head around what the larger implications of that might mean. Such as: is Jameson just the same across reboots? Do you think Simmons thinks its weird that he used to be 27 years younger than Aunt May when she was Rosemary Harris, but now he’s ten years older than Aunt May now that she’s Marisa Tomei? Are there really multiple earths? This film posits the existence of other dimensions and presents evidence for it, but the source is ultimately less than reliable.

I saw this one opening weekend, and in the time since, news broke about the potential dissolution of the contract that allows the MCU (under the Disney omnibrand) to use Spider-Man in their films, with much hand-wringing and corporate apologia and weeping/gnashing/sackcloth. But honestly, I’m not sure that getting a little distance from the larger MCU isn’t for the best right now. At least if we don’t see Tom Holland for a few months, it might give us time to miss him.

*In this analogy DS9 equates to the Netflix shows (more inspective of humanity’s darker impulses, tightly focused, “grittier” for lack of a more accurate term), and the original series is/are the comics (originating mostly in the sixties, socially conscious for both the time of origin and now, sometimes aliens steal character’s brains). Don’t @ me.

-Mark “Boomer” Redmond

Spider-Man: Homecoming (2017)

Spider-Man: Homecoming is a delightful movie. Featuring baby-faced Brit Tom Holland reprising his role from Captain America: Civil War as the eponymous arachno-person, the film has already met with widespread approval from most critics and fans. It’s not difficult to see why; even when playing an exasperatingly ebullient modern teenager complete with inappropriately timed self-videoing, Holland has a magnetic screen presence and brings a lot of charm to the role, not to mention that he actually looks like a teenager and not just Tobey Maguire in his late twenties wearing a backpack. This newfound verisimilitude when it comes to casting young people as young characters is reflected in the rest of the cast who portray Parker’s classmates, including Laura Harrier (27 but looks younger) as Peter’s love interest Liz, Jacob Batalon as his best friend and confidante Ned, Grand Budapest Hotel‘s Tony Revolori as bully Flash Thompson, and Disney debutante Zendaya as Michelle alongside others.

While recently watching The 3% on Netflix with my roommate, he remarked that he found the show to be “effortlessly Tumblr friendly,” which is also true of this film. One thing you may notice about the cast list above is that, other than Holland, all of the actors listed are people of color. This is a great step forward as far as diversity goes in the Marvel Cinematic Universe, which is something that I have written about here before, especially in regards to the largely white-washed and underwhelming Doctor Strange. More admirable than that, however, is the fact that the film has largely cast actors with strong comedic ability beyond any arguable (or marketable) “tokenism”  in what is probably the funniest film that the MCU has produced outside of the Guardians movies so far. Other notable comedians in the adult cast include comedic actors like Hannibal Buress as Coach Wilson (who has some of the film’s best lines), my beloved Donald Glover as two-scene wonder Aaron Davis, and Orange is the New Black‘s (admittedly underutilized) Selenis Levya, making her the second actress to break free from that program into a superhero film after Elizabeth Rodriguez’s appearance in Logan earlier this year.

Rounding out the adult cast are Marisa Tomei as Peter Parker’s Aunt May, Robert Downey Jr. as Iron Man (yet again), and Michael Keaton as the Vulture. Downey is essentially the same in this appearance as he is in all of his appearances as this (and frankly every) character, the rich asshole who is less charismatic than he thinks he is. Those of you who were wondering if he would express any regret or mixed feelings about his role in drafting what is essentially a child soldier into his personal grievance with Captain America in last year’s Civil War are bound to be disappointed, although probably not surprised. It’s still a nice touch that the film acknowledges in its text, if not in its characters’ self-awareness, that (once again) the film’s villains are created by Tony Stark and his lack of foresight. Keaton’s Vulture, nee Adrian Toomes, is a blue-collar Salvage worker whose contract with the city is rendered null when Tony Stark creates a new government agency to deal with the cleanup of the Battle of New York, forcing Toomes and his associates to find a new line of work. As is so often the case in the real world, these working-class men have no choice but to turn to crime, in this situation the theft and customization of advanced technology into weapons, in order to support themselves and their families.

This creates the backdrop of the film, which tells a much more grounded story than more excessive, loftier films like The Avengers. The stakes are largely personal, especially in one particular story beat that is obvious in retrospect but I didn’t see coming and won’t spoil here. Of course, just because the fate of the world isn’t on the line, that does not mean that the stakes are small. One could be easily forgiven for assuming that this movie would be a cliche teenage film that just happens to be filtered through a superhero lens, especially given the film’s subtitle of “homecoming,” but everything feels like it is awarded the dramatic weight that is warranted and appropriate given the setting and the tone. I’m hesitant to say more in this review as I want to save some of my insights for our Agents of S.W.A.M.P.F.L.I.X. review, but I can say that this is one of my favorite films of the year so far and definitely worth the price of admission. I may be any easy sell (especially anytime a film uses “Space Age Love Song,” aka the best thing Flock of Seagulls ever made), but I’ll admit there are a few jokes and nods to the source material that don’t quite land, and I can confess that I had a fairly unpleasant viewing experience due to the loudness and phone usage of the film’s target audience (which is probably what I deserve for going to a screening on opening weekend that was not at the Alamo Drafthouse). All in all, however, I can all but guarantee you’ll have a good time.

-Mark “Boomer” Redmond